Jason Derulo - Future History

Both dubious and intrigued after having taken to the debut from the American RnB star, first single ‘Don’t Wanna Go Home’ demonstrated signs of the progression I had been hoping for in its quirky synth beats and turn of phrase, and yet highlighted potential for the new material to be repetitive and unoriginal.

Future History however plays as the latter of these two prospects and unfortunately comes off as insipid, uninspired and lacklustre.

Insipid, firstly, because there is little in the way of motivation throughout the offering. The eponymous debut followed an almost story like projection, in which the troubles of ‘Watcha Say’ were played out against possible futures for the would-be couple over the subsequent nine tracks. By the close, there was a sense of a journey having been undertaken into the understanding of the foundations of a troubled but worthwhile relationship.

Speaking earlier this year, Derulo commented that he now frequented clubs and wanted this to be an integral part of Future History. The result is that each track sounds as if a one night stand has occurred: a fleeting moment of inspiration after which Derulo has left the majority of the tracks unfinished and unpolished. Key examples are ‘Breathing’ and ‘Breath Out’ which show potential to be floor-filling anthems had they had a little more of a swizzle and production. Derulo’s flirts with the club scene have him reflect the throwaway music that is often produced primarily for that niche alone.

Uninspired seems to be a word that would fit the majority of the tracks in a similar fashion, as if all moulded from the same one night on the town. As if a filler, nearly all tracks contain sections of songs that are nothing but a yodel of ‘Oh, yeah’ or ‘Oh, no’. In addition, swearing once being described as an expression for those who have not mastered language, the idea of a woman being ‘the s**t’ is hardly groundbreaking. Either musically or in feminist terms.

Adding insult, the lyrics of the tracks themselves do not offer anything original. “I’m in too deep” results in Derulo’s need to ‘Be Careful’, whilst another liaison is “Sweet like candy”, ensuring the need to ‘Make It Up As We Go’. As an English student, the phrase “I dig it, I dug it” rather rings home as a five year old’s attempts at rhyme: misplaced and an otiose attempt at cocking cool. If the listener were ever in doubt as to Derulo’s sentiment on the tracks, the majority of these lines are repeated throughout. By the time the first verse and chorus are complete, little else is added to ensure track progression.

Lacklustre vocals are clear and can only be fully appreciated when compared to the debut. Instead of a large vocal range being displayed during the course of the lyrics themselves, ad libbed ‘Ooooohs’ and ‘yeahs’ appear as sweeping frills that detract from the impression that Derulo is a serious artist.

As no doubt many will have noted, that the first single to be lifted contained not one but two samples of different songs and thus was rather disconcerting. Indeed, a number of the tracks take samples, but none so irritating as that of Toto’s ‘Africa’. It is as though Derulo has had doubts of all his creative talents and flair, and so in some vain effort to avoid a stereotypical case of the difficult second album, has played overly safe to the stage the album leaves little impression other than disappointment.

Recently, Derulo stated that the title of the album refers to his wish to have longevity in the music industry and have songs that outlive his own lifetime. Unfortunately, should Derulo continue to release music that is without dynamics, without conviction and without purposeful lyrics, he’ll be sent away from the studio, whether he wants to go home or not.

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